ALBUM OF THE MONTH

Brent Cash - How Will I Know If I’m Awake

Produced and arranged by Brent Cash
Recorded and mixed by Andy Baker
at Andy Baker’s, Athens, GA

Brent Cash’s debut CD accomplishes two things: it’s ridiculously upbeat, and it manages to not overdo it. How is that possible? Well thankfully, Cash never divulges too much of the magic that encapsulates this CD. To say that Brian Wilson or Burt Bacharach or even The Beatles had an influence on this first effort would be a huge understatement. This CD is flooded with ‘60s songwriting, complex vocal harmonies, jangly guitars, memorable hooks and the overriding theme of endless love. Utilizing everything from harpsichord to piccolo trumpet and everything in between, Cash’s arrangements can be likened to those of Smile-era Brian Wilson.

Sun-bleached pop emanates from this CD, but jumps into other genres that make a believable and thoroughly enjoyable contrast. “When the World Stops Turning” is one such track that blends chamber pop instrumentation with melodies straight out of the surf rock era. The word that best describes this album would be nostalgic. Even Cash’s Brazilian lounge number “This Sea, These Waves” is more like Sergio Mendes than Thievery Corporation.

How Will I Know If I’m Awake is filled with bubbly, melodelicious tracks, the best of them being “Everything That’s Grey,” a song that sounds like it came right off the That Thing You Do soundtrack. Another gem is the climatic closer “More Than Everything.” There’s no doubt that a little magic does exist on this CD and Cash has made sure that magic stays with the listener throughout the day; no matter the weather, it’s always sunny with this CD around. The biggest lament is that the CD is barely 30 minutes long. (Marina Records)

www.brentcash.net

-Charley Lee

November - Superstar Parades

Produced by Chad Brown and Michael Dale

Engineered and mixed by Chad Brown

Superstar Parades from Nashville’s November delivers a hearty dose of melodic hard rock music, suitable for inclusion in any rock lover’s CD collection.

The impressive musicianship of drummer Michael Dale and Jeremy Brashears on bass, combined with the dual guitar assault from Albert Zampino and Erik Lundquist, are topped off by the powerful vocals of Hunter Briley, ensuring that every song here packs an adrenalin punch. The listener not only gets to hear the music but feel every note in the songs.

The songs are diverse and well crafted on this sophomore release. The anthemic “New Years Day” opens the CD perfectly with its rousing guitars and catchy lyrics, “We can break out, we can be free / Stand on a mountain you and me / We can let go, say it’s OK / Forgive and forget like New Year’s Day.”

The rest of the CD unfolds releasing gem after gem from the slight punk influence and screaming guitar solo in “The Grind” to the guitar-fueled energy in “Puppy Dog” and “Runaway.” Even the less heavy beginnings of “California,” “Mr. Wonderful” and the title track have an ebb and flow to the hard-hitting musical layers giving each song its own intense character.

From the edgy guitar intro of “New Year’s Eve” to the tribal drum beats of “Burn,” the musicianship and solid production would be enough to carry the listener through the entire CD, but the lush vocals of Briley take the music to a higher level, making it a need to have CD. (Self-released)
www.myspace.com/novembernashville

-Kat Coffin

13 ghosts - The Strangest Colored Lights

Recorded, mixed and produced by Andrew Vernon, Brad Armstrong and Buzz Russell at Otterworks in Birmingham, AL

Mastered by Doug Van Sloun at Studio B, LTD in Omaha, NE

Birmingham, Ala.’s 13 ghosts’ latest album, The Strangest Colored Lights, was started 10 years ago as a eulogy for Thomas Rhodes, the cousin of fellow founding member Brad Armstrong. It is now their second release on Skybucket Records. The album is a combination of dirty blues, rock, country-gutter, psychedelic, spaghetti western and Pink-Floydian guitar riffs. This range of sound does nothing to impede flow; on the contrary, the back and forth between acoustic tracks and those electric serves to create a sound that fluctuates and breathes. The Strangest Colored Lights writes a story; a very personal, very well produced story. The album also represents the first time since 2002 that the band has had a full and consistent line-up for recording.

Listening to the album can feel like a double disc on shuffle. The songs trade off between faster tempo tracks and slower, darker, lullaby-like pieces. The song “Faint Goat,” a distortion heavy full band blues-rock piece with a little bit of BRMC and that hint of Floyd on the tail end, is followed by the track “King of The Thieves,” a slow, longing piano/percussion piece with dirge-like lyrics (“Though they lay me to drown in blood / I’ll always remember you dear”). The guitar work can be edgy and free-form at times, though it can be definitively cowboy-west, such as on “Riverside” (a track also accompanied by Chad Fisher and Chip Crotts on horns), or acoustic on “Beyond the Door,” as well bluesy for a fill-in accompaniment on “Go To Sleep.”

Is this a crisper 13ghosts? Yes. A different 13ghosts? No. The Strangest Colored Lights is definitely on par with the sound of their 2005 album Cicada. Fans of that album will not be disappointed. But there is something more to this record; a deep connection is present between the artists and their work, a connection which is evident throughout the record. (Skybucket Records)

www.13ghostsmusic.com

-Cooper van Rossum

Aaron Robinson - We Are Racing Ghosts

Recorded and produced by Nielson Hubbard, except for “Painful Fee” recorded by Ryan Malina

Mastered by John Baldwin

We Are Racing Ghosts is the latest release of Aaron Robinson, set for release on Tax Day 2008, and coincidentally, getting this album off the ground was a taxing experience. Getting it produced meant selling the guitar the songs were written on. But nothing ventured, nothing gained. Robinson’s vocals could remind a new listeners of Death Cab for Cutie’s Ben Gibbard, but the stories in his songs also have the restlessness Pete Yorn or storytelling feel of Five For Fighting.

“Painful Fee” is the power ballad of the album, combining driving percussion, guitar looping and intense vocals. “All Of Us All” describes the feelings of futility that result from chasing a lot of empty goals, but never finding meaning; there is nothing like experiencing love with another person.

“Karen” is dedicated to Karen Carpenter, the ‘70s pop singer who died from complications of anorexia at age 32. Once the vocals fade out, organ and strings take over, sounding ethereal. Halfway into the album, it is apparent Robinson has equal talents in lyricism and orchestration.

Speaking of his influences, Robinson claims to sound like “his influences” on his MySpace page. The evidence on this album seems to point more toward paying homage to his favorite artists, not copying any one of their songs. For example, “The Road” and “Dreamers Dream” show Bruce Springsteen’s influence, with lyrics that hint at a need to escape with pacing rhythms. Another example is “the New A.M.,” which resembles early Counting Crows.

Taking that big risk to get this album produced was a worthwhile gamble. Putting it off would risk not capturing an experientially rich period in Robinson’s life that was meant to be shared with people who feel similar things, but might not be able to express them - that’s what singer/songwriters do, after all. (Undertow Records)

www.aaronrobinsonmusic.com

-Kathleen Wehle

Bombadil - A Buzz, A Buzz

Recorded and mixed by Chris Rossi at Space Lab Studios

Additional tracking and mixing by Jerry Kee at Duck-Kee Studios

Mastered by Dave Harris at Studio B

Bombadil’s first full-length album, A Buzz, A Buzz glides between a diverse selection of musical heritages and instrumentation, supported by a few sharp piano notes and uniformly astonishing choruses. The album is musical escapism in its purist form, and the four-man band’s enthusiasm overflows from each track.

In his description of Tom Bombadil, J. R. R. Tolkien writes, “Tom Bombadil is not an important person. If you have, as it were, taken ‘a vow of poverty,’ renounced your control, and take your delight in things without reference to yourself ... The question of the rights and wrongs of power and control might become utterly meaningless to you.”
Daniel Michalak and Bryan Rahija, the two founding members of Bombadil, have taken their namesake’s philosophy to heart in A Buzz, A Buzz. In “Smile When You Kiss,” the album’s third track, Michalak advises his listeners, “Sing all alone / Singing’s just talking in tones, rhymestones.” Later, in “One Two Three,” Michalak adopts a voice reminiscent of Bob Dylan’s younger work, singing, “If I could sing / All the love I could bring / I would be a bluebird baby, taking wing.” Throughout A Buzz, A Buzz, Bombadil urgs its listeners to abandon expectations of meaning or coherent narrative, take “delight in things without reference.”

Surprisingly, two of Bombadil’s songs stray from A Buzz, A Buzz’s intentional lack of narrative. In “Julian of Norwich” (written by Dan Shvartsman), an intricate song that glides between recorder-led march and interludes of a capella style vocal harmony, Bombadil describes the life of a 14th century English mystic and anchoress. In “Johnny,” another short, intricately constructed track, Bombadil describes the title character as he’s discovered in the midst of attempting suicide. Though these songs are at least as achingly beautiful as the rest of A Buzz, A Buzz, their inclusion risks treading in territory already visited by The Decemberists’ Picaresque. (Ramseur Records)

www.bombadilmusic.com

-Ben Grad

Caroline Herring - Lantana

Produced by Rich Brotherton and Caroline Herring at Ace Recording in Austin, TX

Engineered and mixed by Rich Brotherton

Mastered by Jerry Tubbs at Terra Nova Digital Audio in Austin, TX

Caroline Herring paints a tapestry of graceful music with a songwriter twist and country twang on her latest CD. Lantana is a collection of 10 soft and soothing melodies, complete with witty vocals full of lyrical charm, and a backing band of talented instrumental musicians.

Herring shines with confidence and a newfound sense of maturity, writing songs of life-changing experiences and her growth into motherhood and marriage. The songs are intimate, her delivery of stories and lyrics powerful and intricate. The sound quality and instruments speak enormous volumes of her work ethic, music that is rich and honest in southern American folk/country style, churning up emotions that are deep and resonant.
The project radiates the feeling of Texas flavors, as it was recorded in Austin, TX. Rich Brotherton and Jerry Tubbs delivered an excellent job through the production and mastering of this record.

The band as a whole is tight and cohesive, with its members playing individual instrumental parts with freedom and zest, letting each other’s parts breathe.
Brotherton also plays bass and guitar with great ease, while Glenn Fukunaga finds peak form on upright bass, Danny Barnes delivers a fluid banjo, and Warren Hood displays amiable fiddle and violas.

Marty Muse carries the foundation of the band with stirring pedal steel guitars, while Tom Van Schaik and Paul Percy support the whole with energetic percussion.
“Heartbreak Tonight” is slow and comforting, a song that’s “easy to please.” The first track, “Stone Cold World,” has a beautiful, sonorous chorus, complete with lush harmonies.

Addressing subjects both heartfelt and difficult, Herring creates music with a delicate touch, an eye for detail, poetic in nature and scope. (Signature Sounds)

www.carolineherring.com

-Shawn M. Haney

Chris Strawn - I Left My Hatin Hades

Produced and recorded by Chris Strawn

Additional mastering By Joe Farmer

Chris Strawn, of the Atlanta duo Brass Castle, released I Left My Hat In Hades, his first solo album, at the end of January. Having recorded the songs over the course of the last seven years gives the album a distinct aspect of discontinuity. One can sense Strawn’s life transitioning and moving forward from song to song.

If this album is set in Hades, it must be one huge party down there. Rollercoastering from fast-paced hard-to-follow riffs reminiscent of Man Man or Gogol Bordello on “On Vargas” to a drudging love song on “Love Letter in C,” Strawn has proven that he is no one-trick pony. One minute, the party is up and jumping, the next it’s semi-conscious on a futon trying to discern what’s on the stereo. Each new song is a different drug of choice for the band and for the listener.

While most of the instrumentation is experimental and doesn’t follow traditional melodies, there are moments one thinks of Issac Brock singing “Doin’ the Cockroach” or even Mick Jagger’s drawling vocals. Transitioning from loud rocking electric guitar on the first two tracks to picked acoustic on the next set, Strawn gets dark and foreboding, with barely discernable moaning lyrics that show off his vocal range. He really delves into the guitar’s blues capabilities on “Firebirds in the Rain,” reaching new depths of emotion.
The end of the album, however, is quite a surprise. On “Crime Part 2,” we get a distinct ‘80s electronica feel mixed with Nine Inch Nails, making one think of a dance party. Yet the closing track gives us something absent from the rest of the record: a ‘70s vibe that harkens to Steve Miller Band or Joe Walsh. This record really exemplifies the artist’s diversity. Though it lacks continuity, it’s definitely worth a listen, or several. (Drazzig Records)

www.myspace.com/chrisstrawn

-Bryn Gravitt

Darla Farmer - Rewiring the Electric Forest

Recorded and mixed by Ian Aeillo

Produced by Ian Aeillo and Darla Farmer

Mastered by Doug Van Sloun

Who is Darla Farmer? Well, actually Darla Farmer is a humble bank teller from Nashville, Tenn. who has unknowingly lent his name to a band. Darla Farmer the band, however, is little less simply put (though from the same city).

Clint Wilson’s vocals seem to be the greatest distinguishing factor of the seven-piece ensemble. Sometimes gritty, Wilson reaches to the depths of his range at points, singing with an earnest inflection. He’s not above resorting to a scream to emphasize his point, either. An obvious ska influence drives the trumpet and trombone parts in songs, played by Chase Bunton and Joey Dykes, respectively. But there is another layer of something warm and earthy, Americana-inspired and honest, that bolsters this band’s dynamic. This contrast is noticeable especially on “History,” with violin and keys rounding out the sound.

Other influences are subtler. On “The Cow that Drank Too Much,” an instrumental break harkens back to the pop sensibilities of The Penguins’ ‘50s hit “Earth Angel (Will You Be Mine).” The album is peppered throughout with electronic scratches and nuances. Distorted guitar is set against piano and at other times, an organ makes its way into the mix.

The album reflects a sort of campy carnival influence, especially on tracks like “Dirty Keys” and “Tommy Bones.” Opener “Quotient” clocks in at barely two minutes, launching headlong into driving rhythm. Yet underneath the circus-show sound, there lies a more serious album.

Loss of innocence seems to be a recurring theme lyrically, notably on “Tree On A Hill” and “Mechanical Thoughts.” Wilson screams, “That’s what I want to be / All shiny and clean / I can’t wait to be / A well oiled machine.” At times lyrically it doesn’t seem to offer anything that hasn’t been said before, but it does so in a way that is not necessarily always trite. Darla would be pleased, that is if Darla also happens to be a Cursive fan. (Paper Garden Records)

www.myspace.com/darlafarmer

-Nicole King

Nick Edelstein - Live in 2007

Recorded and mixed by Robb Holmes at WUGA-FM in Athens, GA

at The Crimson Moon in Dahlonega, GA

Mastered by Ben Cornthwaite at Lakefront Studios in Conyers, GA

Athens music native Nick Edelstein takes the listeners on a terrific ride through the world of blues with an online release of live recordings held in venues throughout the Southeast.

A record chocked full of strong blues material, including classic blues standards such as “Crossroads,” “Stormy Monday” and “Hound Dog,” the artist’s handywork on lead guitar is impeccably precise, as each live song spills with fervent balance, delivering punchy lead solos galore.

Edelstein also shows his intimate and personal side with soft-spoken material, on endearing works such as originals, “Sign from Above,” flawlessly recorded at Athens radio station, WUGA-FM, and “Ripple,” recorded at a bar in Charlotte, N.C.
Although much of the live recordings are very murky and muddy, what is most important is Edelstein’s craftsmanship on blues guitar. “Crossroads” churns the album from the start, launching the album’s fiery energy and tenacity from the get-go.

Edelstein is sloppy in some places on his lead guitar improvisation, yet only true guitarists know, and not the audience. Certainly a highlight displaying his most superior guitar work falls in the intro and throughout “Red House,” a dazzling, mesmerizing statement of guitar-driven blues-rock.

Much of the record has some breathtaking guitar work, and his voice suits the blues man, with performances of liquid gold, compared to the swift speed of a dozen horses at Churchhill Downs, as notes flourish like a roaring freight train.

Though he has much room to grow and improve, his potential is boundless. He even throws in some great riffs and chops that speak of his influences, possibly reminiscing Eric Clapton, Eric Johnson and Stevie Ray Vaughn. Santana’s artistry comes to fruition in a frighteningly well-spoken version of “Europa.”

It’s good to hear much of Edelstein’s background through short bits of interviews on WUGA-FM, as he dwells into his work, and his further studies in comparative literature. (NESS Records)

www.nickedelstein.com

-Shawn M. Haney

Jango Monkey - Jango Monkey

Produced, engineered and mixed by Rob Platner and John Roberts

Mastered by Rodney Mills at Rodney Mills Masterhouse

Jango Monkey’s self-titled debut features truly unique jam-based, blues-rock folk songs. “Got It Made” and “Losing It” are instantly compelling tracks (although the latter track awkwardly seems rushed) and offer the jam-characteristics that, for most ears, are highly-listenable: the high frequency high-hat and walking bass line combination and the filtered funk bass. However, as lead singer Rob Plantner’s vocals seem more an extension of his talking voice than a singing voice, his tendency to pack a lot of vocals into one bar of music, as he does in “Got It Made,” falls flat as restoration of go-to pop jam-band tendencies. It is difficult to be critical of Platner’s voice when his strained vocals lend additional authenticity to the band’s originality. But ultimately, because his voice lacks charm when it goes too flat too often, it remains an unfortunate distraction throughout the album.

Virtually all of these songs, however, are engaging - even the less exciting, more pop-oriented tracks “It Takes Awhile” and “Green Girl.” These songs seem less exciting than perhaps the more jam-oriented songs because the instrumentation is, in contrast to the rest of the album, less experimental and therefore more predictable. Jango Monkey seems to depend on Platner’s affinity for packing verses with quirky lyrics to drive the band’s legitimacy, but it is not enough. Still, these songs are honest, with good intentions, simple and danceable. The emotional meter threatens to burst over and over throughout the album, but Platner’s voice, although perhaps fitting, is anti-climactic. “Losing It” features an excellent jam - surprising and void of verbosity that is almost worth the cost of the album. (Crafty Monkey Publishing)

www.jangomonkey.com

-Brian Gilton

Justin Townes Earle - The Good Life

Produced by R.S. Field & Steve Poulton

Recorded by Adam Bednarik and Richard McLaurin at House of David

Mixed by Richard McLaurin at House of David Studio except “Lone Pine Hill”

Mixed by Adam Bednarik and Steve Poulton

Mastered by Jim Demain at Yes Master

Comparing sons to fathers is probably not a fair thing to do, but this practice inevitably happens in all walks of life, from actors to plumbers. Nowhere does it seem to happen more often and more passionately than in music - just ask Julian Lennon, Jakob Dylan and Ziggy Marley. With the release of The Good Life, you can now add Justin Townes Earle to that list, another aspiring musician attempting to carve out a career in the shadow of a legendary father, Steve Earle. And though Steve may not be quite as famous as the aforementioned fathers of Julian, Jakob and Ziggy, he is certainly nearly as artistically respected and far more personally notorious (multiple marriages, drug addictions, prison stints). His legacy looms large. Earle the younger does not seem to be daunted by his father’s reputation (nor does he shy away from including his middle name, “Townes” after his dad’s favorite songwriter Townes Van Zandt, on his debut) and he establishes that he isn’t the recipient of undeserved nepotism from the opening track “Hard Livin’.” Despite the world-weary title, Justin’s voice is crisp and clear on the straight country, fiddle-driven tune, miles away from the gravel-throated vocalizing of the elder Earle. Most of the songs on this pleasant CD bring to mind another legendary musical father who had a fairly successful son (and grandson!), Hank Williams, with its sparse instrumental arrangements (acoustic guitar, standup bass, piano, minimal drums) and timeless lyrical nods (“lonesome” and “blue” show up here more often than on your average 21st century CD). An occasional foray into other genres aside (the New Orleans-flavored “South Georgia Sugar Babe” or the Leon Redbone-influenced “Ain’t Glad I’m Leaving”), this is a solid debut and if Justin plays to his strengths and stays out of trouble, he has a promising career ahead of him based on his own merit. (Bloodshot)

www.myspace.com/justintownesearle

-Scott Roberts

Ken Will Morton - Kickin’ Out The Rungs & Devil In Me
Rungs Produced, recorded and mixed by Chuck Jopski at Summerhouse Sound in Hoschton, GA

Devil Recorded by Brandon Hicks, Chuck Jopski and Ben Holst

Mixed and mastered by Chuck Jopski

One thing you can’t accuse Athens-based rocker/singer/songwriter Ken Will Morton of is being lazy. On April 8, he released two CDs (the acoustic-driven Kickin’ Out The Rungs and the flat-out electric Devil In Me) simultaneously, while, according to his bio, recording yet another album of material to be released on the Sojourn label. When does the man have time to sleep? Sleeping, actually, does not seem to be one of Morton’s chief concerns; instead he is seemingly consumed with writing, recording and performing his music and the quality of his commitment can be heard on the 21 tracks on these two CDs. Most of the songs on the quieter Kickin’ Out The Rungs feature Morton’s songs backed by acoustic guitar, bass, drums, a spare electric guitar and an uncredited better-than-average harmonica player. The melodies are generally memorable and the lyrics are introspective and thought provoking, especially with the standout track, “That’s All Behind Me Now,” co-written by songwriter extraordinaire and ex-Sugarlander Kristen Hall.

Morton’s sometimes thin and nasally voice, perhaps his only weakness, occasionally comes through too strong on Kickin’..., but seems very well suited to the electric attack of Devil In Me. Recorded in his basement, Morton and his band The Wholly Ghosts confidently rock their way through 11 Westerbergian rockers with highlights being the leadoff title track and the slightly Americana-tinged “Still Look Pretty.”

Whether presented in a quieter or louder setting, Ken Will Morton’s music seems best suited to listening while swigging a beer or two with friends or strangers destined to be friends, and these two CDs are the perfect introduction to this talented musician whom you will undoubtedly want to number amongst your friends as well. (Self-released)

www.myspace.com/kenwillmorton

- Scott Roberts

L.A. Tool and Die - The Last Thorn of Summer

Recorded at Reflection at Sound Studios in Charlotte, NC

Produced by Lee Grutman and Bob Engel

Engineered by Bob Engel

Mastered by Dave Harris at Studio B in Charlotte, NC

With an eccentric band name, lyrics like, “Mountain lions and grizzly bears / May rip our flesh off, but we don’t care / Cause we’re in love,” and an album rife with synth keys, Charlotte’s L.A. Tool and Die could be accused of not taking itself too seriously.
While that accusation might be true, the songs that work the best on The Last Thorn of Summer. L.A. Tool and Die’s second album, are the staid, sober ones. Tracks like “Waltz,” “Brother Rest” and the standout “Well-A-Day” operate in an understated, muted tone that better fit guitarist/vocalist Lee Grutman’s resonant voice - a voice that fluctuates from “Nashville Skyline”-era Dylan to in-shower crooning (especially on the oddly-intoned “Good Things for You”). Underused background vocalist Emily Green provides a sweet addition to “Well-A-Day,” and could have balanced the lead parts if she had been employed more often.

Grutman proves that he can write; the witty “My Brother In Law” picks at aging music trendsters who don’t adapt to new bands - with lines like “He used to DJ college radio / But that was 13 fucking years ago / Now every time we talk he wants to know / What happened to the Silver Jews / That David Berman’s pretty sweet / And Steven Malkmus can’t be beat.” But again, the more subtle lyrics of songs such as “Brother Rest” impress in a low-key way.

In the end, The Last Thorn of Summer feels like two records. One is sincere and unassuming. The other tries too hard at clever irreverence. If L.A. Tool and Die weeds out the latter, it would have a solid set ... but probably have become too serious for its own good. (AAJ Records)

www.latoolanddie.com

-Jason Peterson

Melissa Young - Just Up the Road

Produced by Melissa Young, Bob Reid, and Harry Ballestero

Edited, recorded and engineered by H-Storm at SugaPit Studios in Atlanta, GA and Beatz Galaw Studios in New York, NY

Mastered by Tony Dawsey

Just Up the Road is the debut CD from Atlanta songstress Melissa Young. What unfolds from the CD is smooth, uncomplicated R&B, completely devoid of hip-hop rhythms and rap bridges, just straight R&B. The music and the vocals both benefit from a slick hi-fi production. The horns and drums effortlessly glide into the mix and add a nice jazz club feel to the CD. The dulcet voiced singer’s style is a mixture of ‘90s harmonic girl groups like En Vogue and Brownstone, and a singular soulfulness reminiscent of the gospel-inspired R&B of Chante Moore or Angie Stone.

Just Up the Road is a stellar introduction to Young as she takes you into her world and shows you just who she is and what she knows. That being said, Young is still finding herself but she definitely knows a lot about heartache. The beauty of Just Up the Road is how broad the CD is musically. Spanish guitar floods one slow ballad, but before you get too comfortable with that, the next track lays the drums on real thick and you forget you ever heard a guitar.

One of the best tracks on the CD is the title track; from the second the organ opens up, right after the backing vocals kick in, this song just carries you through. The uplifting message and unforgettable choral harmonies really pull you in. Young clearly knows how to blend soul, R&B and funk into something really meaningful. (SugaShack Records)

www.melissayoungmusic.com

-Charley Lee

Noah Glenn - The Cloudspotter EP

Produced by Noah Glenn and Jonathan Sterling

Engineered by Jonathan Sterling

A self-taught musician, Noah Glenn plays every instrument that appears on his EP, The Cloudspotter from the mandolin, banjo and guitar, to the piano, synthesizers and glockenspiel. The EP is Glenn’s third release, following on the tail of 2007’s Lafayette & Luxia and 2005’s More Than Machinery, both full length LPs.

It is notable that every song on the album has a unique sound, wholly distinct from the rest. The opening song, “Heart Attack,” is the least poppy of the three, relying on strumming guitars and vocal choruses to create its melancholy sound. When the next track, “Double Decker,” kicks in, its sound is so extremely different from “Attack” that it’s almost too jarring to the listener. Diversity demonstrates talent though, and on an EP that’s typically what an artist strives to show his audience. However, there is something to be said for some sense of cohesiveness between tracks.

“Cumulonimbus,” the third and final track on the EP, lushly layers instruments on top of each other until the 2:47 mark, when the drums start and the pop half of the indie-pop genre kicks in whole-heartedly. It ends with the lyrics “Every cumulonimbus reminds me of you,” a perfect example of Glenn’s ability to subtly twist the been-there-done-that indie pop with just enough originality to show that he’s a step above the rest.
The Cloudspotter is currently available for free on Glenn’s website. (Self-released)

www.noahnoah.net

-Liz Lawson

Oso Optimo - The Great American Short Stories

Produced by George Hage and Sid Mennon

Engineered, mixed and mastered by Sid Mennon

The Great American Short Stories is the debut CD from Raleigh, N.C.-based Oso Optimo and is a charming example of the variety found under the umbrella of indie rock with its passionate, mellow vocals set off by heavy guitar riffs.

Former Dakota Darling bassist Larry Dempsey has joined forces with former Yearling guitarist George Hage and former Yearling drummer Mike Schroeder to create a sound all their own with this diverse collection of songs.

The first song, “Sun Day Mourning” has a retro psychedelic feel courtesy of the rolling waves of bass and guitar flowing through the song, while “Parting The Great Divide” relies on a flurry of guitar and drums in the mix. The stark organ intro to “My Shooting Star” soon gives way to a wall of guitar flooding throughout, while “Revenge In Am” is punctuated by the cyclic rise and fall of a surging guitar, along with the catchy feel good lyrics “I’m alright / I’m OK / I’m better off this way.”

The groovy bass line in “Tongue Tied” and the use of hand claps in “This Bottle of Mine” give each of these songs its distinction, while “Discovering the Id” has a heavy guitar screaming through the song setting its tone.

The only downside to The Great American Short Stories is the songs just aren’t different enough from a lot of the other available m usic that it doesn’t have that tug to be a must-have CD. (Firefly Music)

www.myspace.com/osooptimo

-Kat Coffin

Reggie Rymes - Portrait Of a Struggle

Produced by Buttafingers, Trill and DJ Wizdom

Co-Produced by Reggie Rymes

Recorded and mixed by Scott Slagle at Asylum Digital Recording Studios

Hitting hard with dramatic violin samplings and the pure gruff of his voice, Reggie Rymes’ Portrait Of a Struggle demands a listener’s attention within the first 30 seconds of the opening track, “Portrait Of a Struggle Intro.” The South Carolina-based rapper spits out his words with aggressive huffs and sense of urgency that is reminiscent of DMX. He keeps up with a solid head-bobbing beat in the following song, “Speedballin.” Rymes’ jams may not be booty bumping club jams, but they defiantly possess a musicality that makes you want to move.

Still, as the album moves forward into songs like “Listen to Me” and “4 Minutes,” the tracks slowly become more and more stripped down, showcasing Rymes’ abilities as a wordsmith. Backed by turntable swivels and ‘20s style trumpeting, he proves that he is a rapper that can stand alone without the heavy distractions of a funky back beat. Furthermore, he exemplifies his versatility as an artist in gracefully transitioning from up beat to slow dance, from in-your-face rhyming to introspective reflection. The album even offers an instrumental repose come “Outtro,” which allows the listener to cool down before serving up one more slice of his hard line twist of rapping.

On the production end of the album, Scott Slagle offers a solid mix of melodic accompaniment that balances out with Rymes’ point black song stylings. His vocals could be crisper at times, but not in a sense that Rymes is difficult to understand. If anything, what makes his lyrics difficult is the sheer speed at which he releases them at times, making Portrait Of a Struggle an impressive release that shows a promising future for its maker. (109 Entertainment)

www.myspace.com/reggierymes

-Cristina Martin

Russian Spy Camera - Mutiny in the Kitchen with Knives

Recorded and Produced by Ryan White

Mixed by Jay Murphy at Normal Studios in Athens, GA

Mastered by Jeff Capurso at Chase Park Transduction in Athens, GA

The long-awaited sophomore release from eclectic indie pop rocksters Russian Spy Camera is finally here, and the best part is that it’s free! Lead singer, guitarist and all around swell guy Ryan White claims the money that would have gone to printing CDs was mysteriously spent on a plane ticket to Europe. And even though that’s regrettable, what’s not is this absolutely incredible CD. Mutiny in the Kitchen with Knives is more like a companion piece or a sister album to the band’s debut release You Are a Vulture.

Whereas the first album’s overarching theme was about time and deception, Mutiny follows that up with envy. Both albums share the similar topics of the occult, curses, cults and magic, with this latter album holding a few secrets of it’s own. The trio of Ryan White, Andy Turner and McGregor Button has never sounded better. The guest musicians provide a nice dimension to Turner’s forceful and visceral drumming style, White’s spontaneous melodies and Button’s harmonic counterpoints. White’s disjointed and at times haunting arrangements make for a clever dialogue between the vocals and the odd melodies. This album would be the result if you could combine Jews(s) and Catholic(s) with Talking Heads, and then sprinkle in a bit of folkloric romanticism.

Mutiny in the Kitchen with Knives is a great balance of danceable indie pop tunes and pensive (non-love related) ballads. The kicker of the album is the relatively instrument-free number “This Town Has Placed a Curse on Me,” an energizing hand-clapper of a piece that will have you shouting the lyrics, “My very educated mother just sold us nine pizzas” for no good reason. (Self-Released)

www.russianspycamera.com

-Charley Lee

Speed Square - Be Cool

Recorded and Produced by C. Scott at Little Orphan Annie Studio in Asheville, NC

Mastered by Patrick Rives at the Odyssey Studio

Assistant engineered by Matthew Mauney

SpeedSquare, a street performance duo featuring C. Scott and Billy Sheeran, hail from Asheville, N.C., where they recently performed at POPAsheville. The band released its first album, Be Cool, along with a live compilation, last December. The group’s style can be categorized as eclectic jam band, with the majority of the songs focusing on the instrumental rather than the lyrical.

Songs like “Chop Chop” and “Romance” sound they could very well be from the soundtrack of a video game. All of the songs have this aspect to them, with the addition of synthesizers and long instrumental periods. “Lookout” invokes a sense of a dungeon or cave scene from the aforementioned imagined video game, with minor chords signaling impeding danger lurking around the corner.

The band occasionally throws in an element of a random genre, such as the mixing of a reggae beat with jazzy trumpets on the first track. The reggae is brought back in the middle of the final track as well, but is instead mixed with an electric guitar and drumbeats. There is even an occasional Flaming Lips’ Yoshimi Battles the Pink Robots throwback interspersed with the instrumental breaks. The ballad “Let it Burn” turns melancholy against the general happy background of the soundscape, but it soon speeds up again and you find yourself back in the video game.

Although the riffs can be a little repetitive, the album does the multi-talented band justice. The album’s title, Be Cool, fits well with laidback vibe and makes it perfect festival fare. Fans who enjoy other jam bands such as Dave Matthews, Perpetual Groove or Phish would welcome the upbeat variety of SpeedSquare’s new release. (Self-released)

www.speedsquaremusic.com

-Bryn Gravitt

The Black and Whites - The Black and Whites

Recorded and mixed by Bobby Lirette at Place Studios in Oxford, MS

Mastered by Carl Saff at Saff Mastering in Chicago, IL

After putting out three 7-inches, Oxford, Miss. three-piece The Black and Whites has released a self-titled full-length on Douchemaster. Sounding like The Ramones lightly basted in Southern boogie, the debut has a big, trashy garage sound. Far from repetitive, though, the trio finds plenty of variety within its chosen form. Co-writers and vocalists Johnny Valiant (guitar) and Talbot Adams (bass) throw in everything from speed-freak punk songs such as “(Oh) My Head” to emotionally warped pop ballads like “So Torn Up Over You” - and much of it is harder to get out of your head than porcelain fillings. With a key change and a chain of woo-oohs, the band even shows a surprising touch for old-school strolling melodies on “That Girl Ain’t No Good.”

The pairing of songwriters may be behind the stark psychological duality that emerges as they pace the narrow alleyway between power-pop and garage rock. A backdrop of small-town doldrums and casual infidelity provides for plenty of verbal and guitar-driven aggression. “Gonna Have Fun Tonight,” for instance, is addressed to someone who is going to need an ice pack. But “Carlsbad,” on the other hand, could be the sweetest love song ever to enlist the help of a national park. And “Multiple Girls” is actually a paean to monogamy - albeit a pragmatic one.

Deadpan delivery on such throwaway lines as “I need a good girl / One who will not make out with her friends,” helps to balance the album’s bipolar nature (and reveals a sense of humor). It’s also the main reason to press play again. (Douchemaster)

www.myspace.com/theblackandwhites

-Beverly Bryan

TxRx - Lostin Static

Produced and mixed by Joel Mullis and Lee Hendrickson at FatBack Sound Studios in Atlanta, GA

Recorded at FatBack Sound Studios in Atlanta, GA

Engineered by Joel Mullins at FatBack Sound Studios in Atlanta, GA

Mastered by Chris Griffin at Griffin Mastering

Not having a label has not seemed to slow down the rock band TxRx one bit. The group has pushed full speed ahead and crafted a worthy follow up to its 2006 album Transmit and Receive. Released on April 19, Lost in the Static offers a solid mix of brooding chord sequences and catchy choruses. Stand out tracks include the multi-layered “Guilty Hands” and the sweetly stripped down ballad, “Loosing It All.” Flowing smoothly between light and heavy dimensions of sound, the record is one that exemplifies variety in tempo and tonality.

The Atlanta-based group is fronted by lead singer Kevin Arthur, whose voice carries the songs with a sort of androgynous sound. Possessing a waif-like femininity with hints of a masculine rasp, Arthur’s voice is slightly reminiscent of ‘90s rock darling Billy Corgan. The album also features the guitar skills of Lee Hendrickson and Chad Carter who deliver some quick licks and speedy finger work throughout Lost in the Static, keeping the record captivating throughout its duration.

Still, what is most impressive is how the band functions as a whole throughout this album. With the help of producers Joel Mullins and Lee Hendrickson, the musicians all exemplify their talents equally, allowing TxRx give off a cohesive sound, moving flawlessly from song to song. There are no overbearing guitar solos or uneven drum beats, but rather, Lost in the Static shows how the band functions as a machine, each part supporting the other. (Self-released)

www.txrxmusic.com

-Cristina Martin

Various Artists- Bootleg Magazine Presents Helping Hands, Vol I: Heavy

Produced by Brian Tucker and Stephen Sellers at Cape Fear Recording Studios

Bootleg Magazine is a Wilmington, N.C. grassroots publication. It aims to share stories and art from unheard voices, and its charitable CDs are not an exception. With a concert in January and two CDs, 34 local acts have contributed their talents to the Helping Hands effort, which benefits support and therapy of abused children in eastern North Carolina.

Heavy, the first CD, features 18 (one hidden) tracks that are mostly harder rock, punk or alternative. It is more than safe to say this isn’t a charity CD listened to once, only to find its destiny in the used bin next week. It is nearly impossible to describe all the variety encompassed by this unique CD, but here goes.

The Needles’ “Loudmouth Baby” and The Valentines’ “The Fuzz” are intense, rapid-fire hard rock with decidedly different approaches, the former being punk/alternative and the latter having a ‘60s garage band sound. Grenade Brigade’s “Stranger Day” melds rock and rap. The New Nation’s “She’s Gotta Go” is a country-fried funky blues track about the vamp who does her man wrong time and time again. Rong’s “Shurely” showcases classic bluesy rock and is bound to attract Kings of Leon fans. Media Down’s “The Battle Abroad” is an instrumental new wave track. White Tiger & the Bed of Roses’ “Horse In Dismay” would appeal to fans of Wolfmother and The Raconteurs.

The hidden track is “Can You See Them?” featuring backing vocals by a children’s chorus, accompanied by bongos and simple acoustic guitar. It poignantly closes with just the children singing “we are invisible” a cappella. The success of this project proves that victimized children, in spite of suffering, are not alone or unnoticed by their community.

http://bootlegmagazine.wordpress.com

-Kathleen Wehle